Page 6 - cn - fg- The Assembly of Time - Studio Brochure - flickbook e- presentation_Neat

Objectives in approach to painting.

The intention of the collection is to portray the amazing diversity of properties that exist in terms of historical importance. The layout of the gar-
dens, estates and their designs as well as the aesthetic values all make each place its own individual ambiance.
This exhibition being held in New York at Findlay Galleries is the first of its kind connecting with the Royal Oak Foundation and the National Trust
and being represented in this format in America. The objective has been to effectively transport, by a material means, the essence of the National

Trust- a much respected and loved national institution and what it stands for; to an American audience, and particularly to the Royal Oak Founda-
tion membership who collectively, over decades, have supported, saved, and preserved the British heritage stock.
Having said that; this heritage directly relates to America’s historical narrative and people, and in many cases has contributed and formed the basis
and direction of the ‘Founding Fathers’ and the drafting of the Constitution. From the evolving political and social European history, events culmi-
nated profoundly through conditions and situations which steered the course of people and their lives and future generations yet to become part
of America’s people. This is especially the case that led to the independence of a colony formed in America’s own identity. Many of the properties

within the collection existed pre- Independence and many more have direct connections with America.
Implicit in this approach is the notion that history is not to be viewed and considered as past in its value, and ineffectual on the present or indeed
the future. On the contrary, our present contemporary world and individual lives have been shaped by the resultant collective historical events of
the past. By the fact that all history is continually present, either physically, materially or through resultant effects, this means that our history is
contemporary, by the fact that we live and respond, internalise and express the past in the now, through our contemporary lives. History is there to

guide us as we create our future, only to become history to ourselves and in the future.
So many photographic images and films have been made of the National Trust’s properties, as well as the images presented within the Trust’s col-
lections; so what new perspective can be made? My approach is to use the physicality of paint and the dynamics and language of the painted sur-
face, and thereby the spatial presence of the painting statement. I have chosen to effectively invite the viewer to engage with the history that is
depicted and referred to, through a composition that is relevant to a property. This can be through citing a specific event or period, or the ambi-
ence of the place. By the fact that the compositions are directly derived from the properties and painted in the present, reinforces the notion that

history continues to be relevant. In all cases it is the celebration of the aesthetical value which is the triumph of the Artisan, Architect, Designer of
Gardens or Interiors. The vision and expression of the owners, in many cases continue to be intertwined with their lives and in such individual ways.
Charles Neal 2019